DOCSLIB.ORG

South African Film Music Representation of Racial, Cultural and National Identities, 1931-1969

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
South African Film Music Representation of Racial, Cultural and National Identities, 1931-1969 South African film music Representation of racial, cultural and national identities, 1931-1969 Christopher Jeffery Town Thesis presented in partial fulfilment of the requirements forCape the degree of DOCTOR OF MUSICof (COMPOSITION) in the South African College of Music UNIVERSITY OF CAPE TOWN October 2017 University Supervisors: Assoc. Prof. Morné Bezuidenhout Assoc. Prof. Adam Haupt The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town Plagiarism Declaration “This thesis/dissertation has been submitted to the Turnitin module (or equivalent similarity and originality checking software) and I confirm that my supervisor has seen my report and any concerns revealed by such have been resolved with my supervisor.” Name: Christopher Jeffery Student number: JFFCHR002 Signature: Signature Removed Date: 28 February 2017 i Contents Abstract ............................................................................................................................. vi Acknowledgements ......................................................................................................... vii Introduction ....................................................................................................................... 1 Background and rationale ............................................................................................... 1 The problem of literature on South African film music ................................................. 7 Research question and objectives ................................................................................. 10 Research question ..................................................................................................... 10 Research objectives ................................................................................................... 10 Research design ............................................................................................................ 11 Sample design ........................................................................................................... 11 Research methodology .................................................................................................. 11 Sampling methods ..................................................................................................... 12 Analysis of primary source material ......................................................................... 13 Interpretation of primary source material ................................................................. 14 Outline of chapters ........................................................................................................ 15 Chapter 1 Literature Review and Theoretical Framework ........................................ 17 South African film and music studies ........................................................................... 18 Film music ................................................................................................................ 18 Film ........................................................................................................................... 25 Music......................................................................................................................... 32 Theoretical relevance of film and music studies....................................................... 34 ii National film music studies .......................................................................................... 34 Britain ....................................................................................................................... 37 Continental Europe ................................................................................................... 41 Australia .................................................................................................................... 43 Bollywood ................................................................................................................. 44 The Soviet Union ...................................................................................................... 47 Theoretical relevance of national film music studies ............................................... 47 Mainstream film music studies ..................................................................................... 48 Theory of film music ................................................................................................ 51 Analysis of film music .............................................................................................. 60 History of film music ................................................................................................ 66 Theoretical relevance of mainstream film music studies .......................................... 67 Chapter 2 From Silents to Sound Film ......................................................................... 68 The silent era ................................................................................................................. 69 The beginning of sound: mainstream contexts ............................................................. 72 South African early sound films ................................................................................... 73 Sarie Marais (1931) ................................................................................................... 74 Moedertjie (1931) ..................................................................................................... 74 Building a Nation (1938) .......................................................................................... 77 Concluding remarks ...................................................................................................... 81 Chapter 3 Rural African Music in South African Film ............................................... 83 The rural environment ................................................................................................... 84 The 1930s to 1940s ....................................................................................................... 86 Rhodes of Africa (1936) ........................................................................................... 86 iii King Solomon’s Mines (1937).................................................................................. 89 Building a Nation (1938) .......................................................................................... 95 Simon Beyers (1947) .............................................................................................. 102 Trends in the use of African music in the 1930s and 1940s ....................................... 105 The 1950s to 1960s ..................................................................................................... 106 Dingaka (1964) ....................................................................................................... 107 The Naked Prey (1966) ........................................................................................... 113 The Jackals (1967) .................................................................................................. 116 Trends in the use of African music in the 1950s and 1960s ....................................... 119 Chapter 4 Urban African Music in South African Film ............................................ 121 The urban environment ............................................................................................... 121 African Jim (1949) .................................................................................................. 123 Come Back, Africa (1959) ...................................................................................... 126 Dilemma (1962) ...................................................................................................... 138 Concluding remarks .................................................................................................... 146 Chapter 5 Afrikaner Nationalism and Film Music .................................................... 148 Afrikaner nationalist vs African-oriented films .......................................................... 149 Nationalist strategies in Afrikaans cinema ................................................................. 152 Manifesto nationalism: pioneers ................................................................................. 155 Simon Beyers (1947) .............................................................................................. 155 Mythologized nationalism: films of the South African Wars ..................................... 158 Myth creation and heroism ..................................................................................... 160 National anthems and icons .................................................................................... 166 Pathos and kitsch..................................................................................................... 170 iv Bourgeois nationalism: social intrigue........................................................................ 172 Geboortegrond (1946) ............................................................................................
Load more

Recommended publications
  • Dissertation Terre Blanche Hj.Pdf
    IDEOLOGIES AFFECTING UPPER AND MIDDLE CLASS AFRIKANER WOMEN IN JOHANNESBURG, 1948, 1949 AND 1958 by HELEN JENNIFER TERRE BLANCHE submitted in fulfilment of the requirements for the degree of MASTER OF ARTS in the subject HISTORY at the UNIVERSITY OF SOUTH AFRICA SUPERVISOR: PROF A M GRUNDLINGH JOINT SUPERVISOR: DR D PRINSLOO NOVEMBER 1997 ACKNOWLEDGEMENTS I would like to record my thanks to my supervisor and joint supervisor who generously gave of their time and knowledge. Prof Albert Grundlingh was unfailingly helpful and patient, and Dr Dione Prinsloo kindly allowed me to make use of interviews she had conducted. Her knowledge of the Afrikaner community in Johannesburg was also invaluable. I would also like to thank my family, my husband, for his comments and proofreading, my mother for the proofreading of the final manuscript, and my children, Sara and Ruth, for their patience and tolerance. I would also like to thank my father for encouraging my interest in history from an early age. Thanks are also due to Mrs Renee d'Oiiveira, headmistress of Loreto Convent, Skinner street, for her interest in my studies and her support. 305.483936068221 TERR UNISA BI8Lf0Tt:;~:: / LIBRARY Class Klas ... Access Aanwin ... 111111111111111 0001705414 Student number: 460-005-3 I declare that "Ideologies affecting upper and middle class Afrikaner women in Johannesburg, 1948, 1949 a.nd 1958" is my own work and that all the sources I have used or quoted have been indicated and acknowledged by means of complete references . .. ;//.-.! ~~~a.~q~~ ......... SIGNATURE DATE (H J TERRE BLANCHE) SUMMARY This thesis investigates discourses surrounding upper and middle class Afrikaner women living in Johannesburg during the years 1948, 1949 and 1958.
    [Show full text]
  • Kindle # King Kong
    M8TREPC2CM \ King Kong - Our Knot of Time and Music: A personal memoir... Book King Kong - Our Knot of Time and Music: A personal memoir of South A frica s legendary musical (Paperback) By Pat Williams GRANTA BOOKS, United Kingdom, 2017. Paperback. Condition: New. Language: English . Brand New Book. On 2 February 1959, a musical about the life and times of heavyweight boxing star Ezekiel Dhlamini (known as King Kong ) opened in Johannesburg to a packed audience that included Nelson Mandela. King Kong was not just South Africa s first ever musical, but one that grew out of a collaboration between black people and white, and showcased an all-black cast. It was an instant hit, bursting through the barriers of apartheid and eventually playing to 200,000 South Africans of every colour before transferring to London s West End. Pat Williams, the show s lyricist, was at the time an apolitical young woman trying to free herself from the controls and prejudices of the genteel white society in which she lived. Here she recounts her experience of growing up in a divided South Africa, her involvement in the musical, and its lasting impact both on herself and on the show s cast, many of whom went on to find international fame, like South African jazz legends Miriam Makeba and Hugh Masekela. Her memoir takes the story up to the present day. It is both a... READ ONLINE [ 6.91 MB ] Reviews A must buy book if you need to adding benefit. It is rally intriguing throgh reading time period. I am pleased to tell you that here is the very best book i actually have study in my very own lifestyle and may be he finest ebook for at any time.
    [Show full text]
  • The Cultural Significance of Web-Based Exchange Practices
    The Cultural Significance of Web-Based Exchange Practices Author Fletcher, Gordon Scott Published 2006 Thesis Type Thesis (PhD Doctorate) School School of Arts, Media and Culture DOI https://doi.org/10.25904/1912/2111 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/365388 Griffith Research Online https://research-repository.griffith.edu.au The Cultural Significance of Web-based Exchange Practices Gordon Scott Fletcher B.A. (Hons) Submitted in fulfilment of the requirements of the degree of Doctor of Philosophy School of Arts, Media and Culture Faculty of Arts Griffith University September 2004 2 Abstract This thesis considers the cultural significance of Web-based exchange practices among the participants in contemporary western mainstream culture. The thesis argues that analysis of these practices shows how this culture is consumption oriented, event-driven and media obsessed. Initially, this argument is developed from a critical, hermeneutic, relativist and interpretive assessment that draws upon the works of authors such as Baudrillard and De Bord and other critiques of contemporary ‘digital culture’. The empirical part of the thesis then examines the array of popular search terms used on the World Wide Web over a period of 16 months from September 2001 to February 2003. Taxanomic classification of these search terms reveals the limited range of virtual and physical artefacts that are sought by the users of Web search engines. While nineteen hundred individual artefacts occur in the array of search terms, these can classified into a relatively small group of higher order categories. Critical analysis of these higher order categories reveals six cultural traits that predominant in the apparently wide array of search terms; freeness, participation, do-it-yourself/customisation, anonymity/privacy, perversion and information richness.
    [Show full text]
  • Artist Title Count PURPLE DISCO MACHINE FEAT. MOSS KENA & THEFIREWORKS KNOCKS 92 LEONY FADED LOVE 83 ONEREPUBLIC RUN 82 ATB FT
    Artist Title Count PURPLE DISCO MACHINE FEAT. MOSS KENA & THEFIREWORKS KNOCKS 92 LEONY FADED LOVE 83 ONEREPUBLIC RUN 82 ATB FT. TOPIC & A7S YOUR LOVE 81 JUSTIN BIEBER FT. DANIEL CAESAR PEACHES 81 COLDPLAY HIGHER POWER 80 IMAGINE DRAGONS FOLLOW YOU 80 OLIVIA RODRIGO GOOD 4 YOU 80 REGARD X TROYE SIVAN X TATE MCRAE YOU 79 ALVARO SOLER MAGIA 74 RITON X NIGHTCRAWLERS FRIDAY 74 LOST FREQUENCES RISE 70 JONAS BLUE FT. AVA SOMETHING STUPID 69 THE WEEKND SAVE YOUR TEARS 69 KUNGS NEVER GOING HOME 68 ED SHEERAN BAD HABITS 68 JUSTIN WELLINGTON FEAT. SMALL JAM IKO IKO 67 MAJESTIC X BONEY M. RASPUTIN 67 ROBIN SCHULZ FT. FELIX JAEHN & ALIDA ONE MORE TIME 66 RAG'N'BONE MAN ALL YOU EVER WANTED 64 DUA LIPA LOVE AGAIN 63 JOEL CORRY FT. RAYE & DAVID GUETTA BED 63 JASON DERULO & NUKA LOVE NOT WAR 62 MEDUZA FT. DERMOT KENNEDY PARADISE 59 AVA MAX MY HEAD & MY HEART 58 DUA LIPA WE'RE GOOD 57 MARTIN GARRIX FEAT. BONO & THE EDGE WE ARE THE PEOPLE 57 JOEL CORRY HEAD AND HEART 56 CALVIN HARRIS FT. TOM GRENNAN BY YOUR SIDE 56 DOJA CAT FEAT. SZA KISS ME MORE 56 PINK ALL I KNOW SO FAR 54 OFENBACH FT. LAGIQUE WASTED LOVE 53 PINK + WILLOW SAGE HART COVER ME IN SUNSHINE 53 MALARKEY SHACKLES (PRAISE YOU) 50 MASTER KG FT. NOMCEBO JERUSALEMA 49 SIA & DAVID GUETTA FLOATING THROUGH SPACE 48 SUPER-HI & NEEKA FOLLOWING THE SUN 48 ALVARO SOLER FT. CALI Y EL DANDEE MANANA 44 MARCO MENGONI MA STASERA 42 AVA MAX EVERYTIME I CRY 41 TATE MCRAE YOU BROKE ME FIRST [LUCA SCHREINER41 REMIX] MAROON 5 LOST 40 OFENBACH & QUARTERHEAD HEAD SHOULDERS KNEES & TOES 38 PS1 FT.
    [Show full text]
  • Your Core Optometrist Network 2019 Gauteng
    YOUR CORE OPTOMETRIST NETWORK 2019 GAUTENG Area Practice No. Doctor Name Tel No. Physical Address ACTONVILLE 456640 JHETAM N - ACTONVILLE 1539 MAYET DRIVE AKASIA 478490 ENGELBRECHT A J A - WONDERPARK 012 5490086/7 SHOP 404 WONDERPARK SHOPPING C, CNR OF HEINRICH AVE & OL ALBERTON 58017 TORGA OPTICAL ALBERTON 011 8691918 SHOP U 142, ALBERTON CITY SHOPPING MALL, VOORTREKKER ROAD ALBERTON 141453 DU PLESSIS L C 011 8692488 99 MICHELLE AVENUE ALBERTON 145831 MEYERSDAL OPTOMETRISTS 011 8676158 10 HENNIE ALBERTS STREET, BRACKENHURST ALBERTON 177962 JANSEN N 011 9074385 LEMON TREE SHOPPING CENTRE, CNR SWART KOPPIES & HEIDELBERG RD ALBERTON 192406 THEOLOGO R, DU TOIT M & PRINSLOO C M J 011 9076515 ALBERTON CITY, SHOP S03, CNR VOORTREKKER & DU PLESSIS ROAD ALBERTON 195502 ZELDA VAN COLLER OPTOMETRISTS 011 9002044 BRACKEN GARDEN SHOPPING CNTR, CNR DELPHINIUM & HENNIE ALBERTS STR ALBERTON 266639 SIKOSANA J T - ALBERTON 011 9071870 SHOP 23-24 VILLAGE SQUARE, 46 VOORTREKKER ROAD ALBERTON 280828 RAMOVHA & DOWLEY INC 011 9070956 53 VOORTREKKER ROAD, NEW REDRUTH ALBERTON 348066 JANSE VAN RENSBURG C Y 011 8690754/ 25 PADSTOW STREET, RACEVIEW 072 7986170 ALBERTON 650366 MR IZAT SCHOLTZ 011 9001791 172 HENNIE ALBERTS STREET, BRACKENHURST ALBERTON 7008384 GLUCKMAN P 011 9078745 1E FORE STREET, NEW REDRUTH ALBERTON 7009259 BRACKEN CITY OPTOMETRISTS 011 8673920 SHOP 26 BRACKEN CITY, HENNIE ALBERTS ROAD, BRACKENHURST ALBERTON 7010834 NEW VISION OPTOMETRISTS CC 090 79235 19 NEW QUAY ROAD, NEW REDRUTH ALBERTON 7010893 I CARE OPTOMETRISTS ALBERTON 011 9071046 SHOPS
    [Show full text]
  • The Curious Case of Chinese Film Censorship: an Analysis of The
    THE CURIOUS CASE OF CHINESE FILM CENSORSHIP: AN ANALYSIS OF THE FILM ADMINISTRATION REGULATIONS by SHUO XU A THESIS Presented to the School of Journalism and Communication and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts December 2017 THESIS APPROVAL PAGE Student: Shuo Xu Title: The Curious Case of Chinese Film Censorship: An Analysis of Film Administration Regulations This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the School of Journalism and Communication by: Gabriela Martínez Chairperson Chris Chávez Member Daniel Steinhart Member and Sara D. Hodges Interim Vice Provost and Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded December 2017 ii © 2017 Shuo Xu iii THESIS ABSTRACT Shuo Xu Master of Arts School of Journalism and Communication December 2017 Title: The Curious Case of Chinese Film Censorship: An Analysis of Film Administration Regulations The commercialization and global transformation of the Chinese film industry demonstrates that this industry has been experiencing drastic changes within the new social and economic environment of China in which film has become a commodity generating high revenues. However, the Chinese government still exerts control over the industry which is perceived as an ideological tool. They believe that the films display and contain beliefs and values of certain social groups as well as external constraints of politics, economy, culture, and ideology. This study will look at how such films are banned by the Chinese film censorship system through analyzing their essential cinematic elements, including narrative, filming, editing, sound, color, and sponsor and publisher.
    [Show full text]
  • Form L5: Title Registration/08
    NICO CARSTENS AS INNOVEERDER VAN SUID-AFRIKAANSE POPULÊRE MUSIEK Susanna Helena Robina Louw Voorgelê om te voldoen aan die vereistes vir die graad MAGISTER MUSICAE in die Fakulteit Geesteswetenskappe, Departement Musiek, aan die Universiteit van die Vrystaat Studieleier: Prof. N.G.J. Viljoen Medestudieleier: Prof. M. Viljoen Januarie 2013 VERKLARING Ek verklaar hiermee dat die verhandeling wat hierby vir die graadMagister Musicae aan die Universiteit van die Vrystaat deur myingedien word, my selfstandige werk is en nie voorheen deurmy vir ’n graad aan ’n ander universiteit/fakulteit ingedien isnie. Ek doen voorts afstand van die outeursreg op dieverhandeling ten gunste van die Universiteit van die Vrystaat. ____________________________________ i ERKENNINGS By die voltooiing van hierdie verhandeling is dit die behoefte van my hart om persone en instansies wat my op een of ander wyse met genoemde materiaal behulpsaam was, opreg te bedank: My studieleier, prof Nicol Viljoen, en mede-studieleier, prof. Martina Viljoen, vir hulle besondere kundige leiding in alle fases en fasette van hierdie navorsing. SAMRO, vir die beskikbaarstelling van navorsingmateriaal, maar veral aan dié personeel wat genoemde materiaal so goedgunstiglik behulpsaam was. SABC en hulle Argief vir klank- en beeldmateriaal. Die FAK/SAMRO/National Arts Council of South Africa, vir finansiële bystand om hierdie projek te voltooi. Ingrid Howard, wat as behulpsame tussenganger opgetree het in my kontak en ontmoetings met Nico Carstens. Corrie Geldenhuys, vir die taalkundige versorging van die teks. Nico, die inligting hierin vervat, is net ’n fraksie van alles wat ek van jou ontvang het. Geen akademiese geskrif kan in elk geval vriendelikheid, openhartigheid en gasvryheid omskryf nie.
    [Show full text]
  • Film Club Sky 328 Newsletter Freesat 306 MAY/JUNE 2020 Virgin 445
    Freeview 81 Film Club Sky 328 newsletter Freesat 306 MAY/JUNE 2020 Virgin 445 Dear Supporters of Film and TV History, Hoping as usual that you are all safe and well in these troubled times. Our cinema doors are still well and truly open, I’m pleased to say, the channel has been transmitting 24 hours a day 7 days a week on air with a number of premières for you all and orders have been posted out to you all every day as normal. It’s looking like a difficult few months ahead with lack of advertising on the channel, as you all know it’s the adverts that help us pay for the channel to be transmitted to you all for free and without them it’s very difficult. But we are confident we can get over the next few months. All we ask is that you keep on spreading the word about the channel in any way you can. Our audiences are strong with 4 million viewers per week , but it’s spreading the word that’s going to help us get over this. Can you believe it Talking Pictures TV is FIVE Years Old later this month?! There’s some very interesting selections in this months newsletter. Firstly, a terrific deal on The Humphrey Jennings Collections – one of Britain’s greatest filmmakers. I know lots of you have enjoyed the shorts from the Imperial War Museum archive that we have brought to Talking Pictures and a selection of these can be found on these DVD collections.
    [Show full text]
  • Karaoke Mietsystem Songlist
    Karaoke Mietsystem Songlist Ein Karaokesystem der Firma Showtronic Solutions AG in Zusammenarbeit mit Karafun. Karaoke-Katalog Update vom: 13/10/2020 Singen Sie online auf www.karafun.de Gesamter Katalog TOP 50 Shallow - A Star is Born Take Me Home, Country Roads - John Denver Skandal im Sperrbezirk - Spider Murphy Gang Griechischer Wein - Udo Jürgens Verdammt, Ich Lieb' Dich - Matthias Reim Dancing Queen - ABBA Dance Monkey - Tones and I Breaking Free - High School Musical In The Ghetto - Elvis Presley Angels - Robbie Williams Hulapalu - Andreas Gabalier Someone Like You - Adele 99 Luftballons - Nena Tage wie diese - Die Toten Hosen Ring of Fire - Johnny Cash Lemon Tree - Fool's Garden Ohne Dich (schlaf' ich heut' nacht nicht ein) - You Are the Reason - Calum Scott Perfect - Ed Sheeran Münchener Freiheit Stand by Me - Ben E. King Im Wagen Vor Mir - Henry Valentino And Uschi Let It Go - Idina Menzel Can You Feel The Love Tonight - The Lion King Atemlos durch die Nacht - Helene Fischer Roller - Apache 207 Someone You Loved - Lewis Capaldi I Want It That Way - Backstreet Boys Über Sieben Brücken Musst Du Gehn - Peter Maffay Summer Of '69 - Bryan Adams Cordula grün - Die Draufgänger Tequila - The Champs ...Baby One More Time - Britney Spears All of Me - John Legend Barbie Girl - Aqua Chasing Cars - Snow Patrol My Way - Frank Sinatra Hallelujah - Alexandra Burke Aber Bitte Mit Sahne - Udo Jürgens Bohemian Rhapsody - Queen Wannabe - Spice Girls Schrei nach Liebe - Die Ärzte Can't Help Falling In Love - Elvis Presley Country Roads - Hermes House Band Westerland - Die Ärzte Warum hast du nicht nein gesagt - Roland Kaiser Ich war noch niemals in New York - Ich War Noch Marmor, Stein Und Eisen Bricht - Drafi Deutscher Zombie - The Cranberries Niemals In New York Ich wollte nie erwachsen sein (Nessajas Lied) - Don't Stop Believing - Journey EXPLICIT Kann Texte enthalten, die nicht für Kinder und Jugendliche geeignet sind.
    [Show full text]
  • Die Oorsprong Van Die ' Paadekraal-Gelofte'
    Die oorsprong van die ' Paadekraal-Gelofte' Kálmán Papp Krugersdorp Abstract The Origin of the ‘Paardekraal Vow’ Contrary to common belief that the ‘1880 Vow' was taken at Paarde­ kraal, on the restoration o f the Republic on 13 December 1880, the writer has documentary proof that this ‘Vow’ was in existence almost two years before that date. An agreement is said to have been signed by a number o f the Boers at Wonderfontein, where they had gathered between 10 and 13 January 1879 to claim the restoration o f the Republic. Both these minutes and the Transvaal press ignored this agreement as it was feared that they would lead to premature armed resistance. The Paar­ dekraal Festival Commission became aware o f the agreement in 1945 and adopted it as the ‘Vow o f 1880' in their 1946 programme. 1. PROBLEEMSTELLING Van 1946 tot op hede verskyn daar elke jaar op die feesprogram van Paardekraal, benewens die bekende gelofte van Bloedrivier van 1838, ook 'n ‘gelofte’ van 1880. Dit kan ook die ‘Paardekraal-gelofte’ genoem word omdat daar in die algemeen aan­ vaar word dat dit in 1880 afgelè is toe die Zuid-Afrikaansche Republiek, na die annek- sasie van 1877, by Paardekraal herstel is. Hierdie ‘gelofte’ word ook beskou as ’n hemuwing en bevestiging van die gelofte van 1838 deur die volk by Paardekraal. So byvoorbeeld skryf ds C J Mans : Dit lyk dus asof ons die saak so moet voorstel dat met die klipstapeling te Paardekraal die gelofte van 1838 in daardie noodsituasie van ons ge- skiedenis hemu en bevestig is en dat hierdie gelofte en sy hemuwing die fondament is waarop die ‘heilig verbond’ van Paardekraal ontstaan het as ’n eed van trou aan volk en vaderland en ’n verbintenis om tot die dood toe te stry vir die herstel van die verlore vryheid.
    [Show full text]
  • Histoire Des Séries Volume 1 1
    Histoire des séries Volume 1 1. Contenu de l’émission Chapeau melon et bottes de cuir Le générique des 3 premières saisons (des épisodes du début à ceux avec Honor ​ Blackman qui joua le rôle du ​ ​ docteur Catherine Gale ) a été ​ ​ composée par Johnny ​ Dankworth : ​ Dans un style jazzy fréquent dans les séries policières de l'époque, le thème est légèrement réorchestré dans la saison 3. C’est Laurie Johnson qui ​ ​ composera le générique des saisons ultérieures (à partir de l'arrivée de Diana Rigg qui ​ ​ interprétra le rôle d’Emma Peel. ​ ​ C’est en fait le générique de la saison 4 qui est devenu le générique de référence, celui de la période culte. Il sera précédé d'une introduction pour percussions pour la saison 5 et un solo de trompette (le thème de Tara) s'y greffera pour la saison 6. Howard Blake ne composa aucun générique, mais composa la ​ musique de plusieurs épisodes de la saison 6 (comme Miroirs ​ ou Jeux) lorsque Laurie Johnson n'était pas disponible. ​ ​ Chapeau melon et bottes de cuir est le titre français de ​ deux séries télévisées mélangeant espionnage, science-fiction et action : la série britannique The Avengers et sa suite, la série ​ ​ franco-canado-britannique The New Avengers. ​ ​ Ces deux séries mettent en scène le personnage de John Steed, ​ ​ un agent secret britannique. La première série, ayant pour titre original The Avengers (« les ​ ​ Vengeurs »), se compose de 161 épisodes de 52 minutes, dont 104 en noir et blanc, et fut créée par Sydney Newman et ​ ​ Leonard White. Elle a été diffusée du 7 janvier 1961 au 21 mai 1969 sur le réseau ITV1.
    [Show full text]
  • Welcome to Our 50Th Anniversary Special Edition of SAMRO Notes
    www.samro.org.za | 50th Special Edition Welcome to our From the desk 50th Anniversary of the CEO In December 1961, SAMRO held its first-ever Special Edition of board meeting and AGM and a few weeks later, SAMRO Notes in January 1962, it opened for business... At the time, SAMRO’s objective was to protect the intellectual property of composers and authors. It was also to make sure that composers’ and authors’ talents received proper credit both locally and internationally when the music they created was used. That commitment, first articulated and put into action in the Who would have thought that what started out as a small family- early 1960s, has not changed – and in the five decades since, SAMRO has become run organisation would still have such great relevance and impact the primary representative of music performing rights in Southern Africa. on the lives of over 12 000 members 50 years later? From the very beginning, there was an additional commitment by SAMRO’s founder, Dr Gideon Roos, Sr, and those who came after him. That was to ensure that SAMRO took the right business decisions to be financially robust and sustainable, and fully able to meet its commitments to members, no matter Yet here we are, celebrating five decades of unwavering service to the state of the external economic environment. you, our valued members. It’s on these foundations that we have been able to take SAMRO in new directions – directions that add value to our members and benefit the South African music industry as a whole.
    [Show full text]